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Past exhibitions

“In the February of our first year at the university, Esther and I took a trip to the beach in Cromer. We had an idea of an endless walk along the coast as the perfect daylong escape. It turned out to be a pretty freezing and wet day, but we had the most amazing time all the same, eating the most delicious fish and chips and watching the seagulls flying over the pier. The sky was almost perfectly reflected in the wet sand. Walking along the beach we collected lots of shells, stones and seaweed, pretty things and things that looked like other things. (Stones that looked like poo!) We always talk about that day and how great it would be to do it again, but we usually decide against it, maybe to preserve that one occasion in our memories. Both of us have always liked collecting things. Esther has always done it in a very careful and beautiful way, pressing seaweed and arranging shells meticulously in her room. I have always done it in a more haphazard way, forgetting about things and finding them years later sandy and mushy at the bottom of bags. So that's partly how we chose our theme. Some evenings we used to do watercolour paintings and listen to music in one of our rooms, and those were some of the best evenings we spent. We usually made cards for each other or for our friends. Later on in our time here we decided it might be nice to make something a bit more permanent and public, and to get together different works made by our friends too - some of whom draw, make objects from wood and other materials, and create animations. So Lily, Imogen and Oscar will be contributing some of their things to our exhibition too. On our part, a big element of the installation will be made from objects we have found, photographs, cyanotypes and fragments of text. Everything will be in some way to do with the sea and bodies. The exhibition will not just be about what is displayed - we want to really encourage creative collaboration in the art rooms and so we will be running several events in which we will try out different processes with anybody who wants to join us!”

Esther Sorooshian and Mallika Buckle are third-year English literature students at King's. Imogen Osborne also studies English in her third year, Lily Flashman studies history and politics in second year and Oscar Partridge studies architecture. He is his third year.

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Break

Fence

Red

Bird in Sand

First There Is A Mountain, Then There Is No Mountain, Then There Is - Jeff Thompson - 27th November

Machine learning creates a unique conceptual space, where objects in the world are repeatedly transformed and filtered into crystallized, generic representations. The datasets used to train these neural networks are often found by accident, images of ordinary objects and actions pulled from photo-sharing sites or surveillance cameras.

Developed this fall while a Visiting Fellow at King's College and artist-in-residence at the Computer Laboratory, this exhibition presents works-in-progress that explore how technological systems build representations of objects and the liminal site between the real world and the digital. The show includes "Dinge," a set of sculptures derived from the structures of neural networks used to identify objects, and "Imagined Networks," a series of text-based proposals for useless machine-learning systems.

Jeff Thompson is an artist, programmer, and educator based in the New York City area, where he is Assistant Professor and Program Director of Visual Arts & Technology at Stevens Institute of Technology. His work can be viewed at: www.jeffreythompson.org

All at King's are welcome to meet Jeff at an event from 5.30 to 7.15pm on Tuesday 27th November. Please contact Nigel Meager nrm32@cam.ac.uk for further information.

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Mirrored Tensor Wide

Photographs - Rory O'Bryen - November 3rd to November 25th

Rory writes:

"These are photos that I’ve taken over the past few years. They were all taken on 35mm black and white film and developed using the traditional chemical process: in the dark and under water.

They bring together just some of my recurring fixations. One of these is water, both as a subject and as the medium in which the photographic image develops. Water is the matter from which we emerge, but the photograph fixes and arrests its flow, just as it fixes and arrests the unfurling of life itself. It’s what the image forgets, but also what sustains it, seeps into and through its pores. Another fixation is on crossings: literal crossings – over water or in the street, but also figurative crossings: missed encounters in which we cross each other’s paths without seeing, in which we cross one another out; but also fleeting moments in which we unconsciously touch one another in our solitude."

The images were taken in Cambridge, France, Colombia, Spain and the US, but their location is of secondary importance. Rory is a Fellow of King’s College and a University Senior Lecturer in Latin American Cultural Studies. For more information contact Rory: rro20@cam.ac.uk.

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Boat to Gomera

Embrace

Atarrayeros Caimán

The Perspective Chamber - paintings by Sam Race - October 1st to 28th

Sam Race comments:

"My work explores the construction of memory spaces, reminiscent of cabinets of curiosity and still lives from the 17th century in a combination of artefacts associated with the pursuit of knowledge with intimate interiors evoking ruminations on moral codes and mortality. My interiors are assembled from fragments of found and collected imagery both abstract and figurative. These rooms present a stage or display case for groupings of desirable objects of the past and present. Technological devices confer with statues from antiquity and astronomical instruments, presenting a reflection of our obsession to quantify and understand our world, a pursuit that is often threatened by our own vanity. Using compositional devices and glazing techniques derived from the 17th century, my paintings and drawings are built up over many layers in a process of continual reflection and re-working. The result is a palimpsest of marks, which echoes the memories that buildings and rooms contain and which links my work to the history of objects, concepts of collecting as a cultural practice and the malleability of historical memory."

Samuel Race is an artist and lecturer at Cambridge School of Visual & Performing Arts (CSVPA), specialising in Fine Art and Contextual Studies. He is also Head of Arts Lab at CSVPA where he has been facilitating experimental drawing conversations between students from King’s College, St John’s College and CSVPA in a continuing series of collaborative workshops.

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The Perspective Room

Because of All We’ve Said, oil on board

The Archaeology of Knowledge (detail), oil on board

Hermes, colour pencil, watercolour and gouache on pape

Life drawings from King's Thursday evening sessions - to 4th August and 20th August - 8th September

Life drawings from King's Thursday evening sessions - to 4th August and 20th August - 8th September

Exhibition details and a brief history of the long standing Thursday evening life drawing sessions at King's.

It is with great pleasure that this summer the Art Rooms are displaying work by a small groups of artists, who are the current representatives of a long standing tradition at King’s – life drawing on Thursday evenings. This was originally, in the 1970s, a Graduates’ Society initiative. Dennis Goldsmith, who now coordinates the Thursday sessions, shares some of the history of this after talking with Quin Hollick, who has been drawing in the Art Rooms most Thursday evenings for over thirty years. Dennis writes this brief account:

“This exhibition is a first in the Art Room dedicated to Graduate Society Life Drawing works. Artists’ works, as displayed in two separate shows, are part historical (from 1970’s) but also from more recent years. The artists represented include: Quin Hollick, Richard Baker and Harry Gray.

Reminiscences from discussions with Quin Hollick –

Early in 1970’s was how this started, as a Graduate Society Activity with intention to meet in the ‘GradPad’ but no suitable room could be found to host it. At the time, King’s College had an available spare room, which was kindly offered (present Art Room). Life drawing sessions were first set up in this room on Thursday evenings by June Robinson who was then a lecturer at Cambridge Art and Technology – now Anglia Ruskin. Richard Baker remembers drawing as early as 1974.

Following June Robinson’s retirement, Roy Watson and Richard Baker presided, and Quin Hollick (who cycled in weekly) took over the organisation in the early 1980’s. This continued with the blessing of the then Vice Provost, and became established as a tradition with fifty weekly sessions a year.

Past and visiting scholars would know they could drop in on a Thursday evening, knowing there is always life drawing. Quin recounts that during one winter, the model Johnny Fisher posed in almost sub-zero temperatures during building repairs, with scaffolding through the windows.

The impetus grew. Later on, on a Sunday, an all-day life drawing session was arranged in King’s Art Room, which spawned Bottisham Life Drawing at weekends. After a while, another life drawing session on Wednesday evenings was also established.

Various artists in residence have actively maintained the importance of Art within the College, and this Art Room is now firmly established with regular exhibitions at present arranged by Nigel Meager.

About 2 years ago Quin Hollick retired after 32 years, and I took over with assistance from Mike Roe and Harry Gray, to continue this tradition.

Many past scholars have attended as well as the regulars. Thursday evening drawing sessions continues a tradition of providing life drawing for past and present scholars. It is an example of King’s College generosity in reaching out to graduates, not only in Cambridge, but worldwide.

This exhibition is a first dedicated Exhibition of Graduate Society Life Drawing works in the Art Room. Artists’ works, as displayed in two separate Shows, are part historical from 1970’s and the more recent years, including works by Quin Hollick, Richard Baker, Harry Gray.”

Please email Nigel Meager nrm32@cam.ac.uk if you would like more information.

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100/25 – Graham CopeKoga 25th June to 14th July

100/25 marks the first of four exhibitions to feature 100 portraits of individuals who have contributed to the intellectual, artistic and cultural landscape of Britain.

Each portrait has been taken in the sitters' own environment, be it in their office, studio or private residence. The portraits have been taken in front of a white backdrop, stripping away any relationship the sitter had with their environment, allowing the viewer to focus on the subjects. No preconditions were made on the sitter, and the resulting images capture familiar and unfamiliar faces in a way we don't expect. The list of sitters isn't efined and often serendipity has played a bigger part in who has been included and why.

Graham CopeKoga is a member of the History Faculty in Cambridge and trained in Fine Art at the Nottingham Trent School of Art and Design. He works exclusively with film and the wet plate collodion process and is known for his portraits of artists, intellectuals and celebrities, which include Professor Stephen Hawking, Sir Terence Conran, Sir Alec Jeffreys, Norman Foster and Bruce Oldfield amongst others. His work has been published in The Daily Telegraph, The Guardian and featured on NBC, Fox News, ITV and BBC television. He also holds photography workshops at King's.

Contact Graham CopeKoga:

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angela verdon

norman foster

yuki segawa

akiko hirai

Disposable Perspectives: Porte de la Chapelle 14th to 17th May

This is a collaborative photography project that captures in simple humanising terms the experience of refugees in modern day Paris. Disposable Perspectives offers an antidote to the dehumanising media coverage of the 'migrant crisis' and returns control of the narrative to those most affected.

Between November 2016 and March 2018 a 400-bed transit centre was set up in the north of the French capital. Located under the concrete flyovers of the Périphérique, the Porte de la Chapelle camp became a key stop-over on the migrant map of Europe. Thousands of men passed through the camp; Disposable Perspectives provides a glimpse into the experiences of 15 of them.

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GALILEO 24 — Debbie Loftus 16th April to 10th May

Debbie Loftus trained at the Chelsea School of Art. As a practising fine artist she focuses on themed sequences, exploring motifs deriving from science, literature, music and art history. Debbie writes, “My practice is based on an experimental approach to materials. This is informed by the underlying structure of observational drawing, applied to abstract subject matter”.

In 2014 she was artist-in-residence at Central Ballet, producing images live in rehearsals and larger conceptual works painted in her studio. In June 2015 Loftus exhibited at the British Museum, where she was artist-in-residence for the premiere of Panathenaia, a contemporary cantata based on themes deriving from the Parthenon Frieze. In 2017 projections of her photographs formed the basis of a semi-dramatic performance of Six London Preludes at Ulriksdal Palace Theatre, Stockholm, with music by Dame Evelyn Glennie. Loftus is currently exhibiting First Kiss at Herrick Gallery, Mayfair.

Galileo 24 is a series of twenty-four images based on ideas about infinity originating with Galileo. It is a topic that, over many centuries, has taxed the minds of our greatest philosophers, mathematicians, scientists, theologians, artists and poets. Galileo 24 visually addresses the question of whether infinity is one or many, and how can we possibly measure it. Based on traditional geometry and the principles that underlie Galileo’s mathematical diagrams, Galileo 24 places the abstract idea of infinity into a human context in order to discover aesthetic values and make new works of art.

Publications:

Contacts

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A Comfortably High Temperature 3rd to 10th April

Am I warm yet?
No, try harder.

How about now?
Still ice cold.

You’re Freezing.

Curated by King’s College Graduate Student, Sian Creely, and featuring the work of four artists, ‘A Comfortably High Temperature’ is an interactive and visually stimulating experience exploring the interpretations of one word. Drawing on the influence of reward and punishment, suburban domesticity, routine, loops and indulgence.

A fantastic campfire is lit by Sarah Entwistle, Julia Collington, Rosie Abbey, Lucia Coppola who are four London based artists studying at Chelsea College of Arts and Goldsmiths.

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RARE — NAZITA 27th to 31st March

Curated by King’s College Graduate Student, Sian Creely, “Rare” is an erotic criss-cross of lights and shadows that traces an act of creative play between a group of subversive underground queer artists in a low lit, gritty backstage room of a New York City night club. An intimate photographic sketch and gender-bending performance combine in this space of spontaneous creation. Ephemeral, atmospheric and defiant, these bites of desire cut a path between the personal and the performative.

Nazita Matres Rezai was born in Madrid, Spain in 1982. She has a BFA in photography from Parsons School of Design - The New School in New York and an MFA in Scenic Arts and Dance from the Alicia Alonso Dance Institute - King Juan Carlos University, Spain.

Her artistic curiosity is fuelled by a passionate zest for life. A multidisciplinary artist with a nomadic upbringing, she expresses her soul’s journey with a playful intensity that highlights the wondrous mirage of life through the enigmatic universe of the arts.

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Microscope art – Ben Dobson 18th February to 8th March

Ben Dobson read Natural Sciences at King's College and graduated in 1995. After a career in software engineering, he switched to science and teaching computing. He now teaches at Chesterton Community College, Cambridge. Ben is also microscope artist and was recently invited by the art magazine Aesthetica to be included in their Artists' Directory: www.aestheticamagazine.com/profile/ben-dobson/

Ben’s work is concerned with perspective, texture, colour and light. He seeks a hidden beauty within animals, plants and minerals. He uses reflected and transmitted light, often polarised, to illuminate mineral, vegetable and animal matter, which he carefully prepares for microscope and camera.

The artist is co-organising, and exhibiting in the first Cambridge SciArt Exhibition at the Cavendish Laboratories as part of Science Week (March 19th -25th, 2018). He has also been invited by Gavin Broad, the Curator of Insects at the National History Museum, to visit his collection with a view to photographing some of his specimens. Ben writes:

"In the long run I would like to become more established as an artist and possibly set up an outreach microscope club that could combine both art and science. In Victorian times microscopy was a huge hobby with over 3000 people making a living preparing slides for richer Victorians. I would like to see microscopy become a popular hobby again and believe it is possible and that this could start in Cambridge."

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The Queen of the Crystal Trees - Ben Dobson

Shell - Ben Dobson

Black Narcissus - Ben Dobson

Arachnoidiscus Sendicus - Ben Dobson

Talking Brains – Andy Ash 1st - 16th February

This exhibition is a collection of recent work by Andy Ash which investigates the relationship between the brain and art making; a kind of “dialogue with my neurological self”. Through a series of ink drawings, films, photographs and objects, Andy creates an installation in the Art Rooms which ask questions about the relationship between depression, (dis)connection, dyslexia and creativity. The work is interested in interior and exterior space, the individual and collective, the dark, the light and importantly the grey and how these competing aspects connect to form a way of seeing and a way of being.

Andy Ash teaches Post Graduates at University College London (UCL), Institute of Education (IOE) in the Art, Design & Museology Dept. As an artist teacher he is interested in Visual Art Practice as Research and collaborations between artists and scientists, and how their conversations can generate new knowledge. He plans to use the exhibition as a hosted space for display and conversation, much like the 17th and 18th Century ‘Salon’ which functions as an opportunity to engage in (thereby generating) dialogue between artists, scientists, and educators. He has planned a series of workshops and discussions during the exhibition for King’s Members (dates to be announced), which raise questions of personally situated knowledge production as a research strategy that crosses the disciplinary boundaries of art and science.

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2017-11-12 17.21.05 - Andy Ash

2017-11-12 16.44.10 - Andy Ash

2017-11-19 17.05.42 - Andy Ash

Brain 1 copy 2 1000 - Andy Ash

When pixels become paint – Ruby Reding - 11th to 28th January

Ruby Reding writes: “I am a third year English student at King’s with interests predominantly in contemporary poetry and visual culture. I am currently writing a dissertation on Nancy Spero. Aside from Spero, I am influenced by Pipilotti Rist and the NewHive digital art platform. My exhibition is an exploration of the tensions between oil paint and the pixilated screen, between concealing and revealing objects. I have been thinking about the body, it's skin, it's space, and it’s intersections with the frame and surreal landscape. Working on mediums such as acetate, shower curtains, and the screen, this exhibition invites you to question the canvas form. Can you put flesh into words? How does emotion play out on screen or in paint? What does it mean to pour something down the sink? Is digital painting a lazier medium? How does it change indefinitely the way we think about paint?”

Come along on January 15th for a showing of some additional short art videos, drinks and zines. For more information please contact:
.

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Tablet wood collage - Ruby Reding

Untitled - Ruby Reding

bulge 3 - Ruby Reding

poster - Ruby Reding

Edwin Aitken - Silent Green - Recent Paintings 1st – 22nd November

My recent paintings and drawings have been inspired by my perception of a part of the natural world that exists alongside the suburban environment in which I live.

Each of my works contain a number of images that have been generated as a part of a more outwardly expressive and intuitive approach to the activity of making and thinking about painting. Images of plant and animal forms coalesce and combine, and tensions between seemingly opposite impulses, ideas and working practices are explored in each of the paintings.

Although the initial stages of each painting are completed on location in Epping Forest, working directly from and in the woodland, the images they contain are not necessarily meant to be interpreted in a strictly literal manner. There is a great deal of improvisation and reassessment in each painting and as such there can be a great deal of flexibility in terms of what each painting contains. For example, the shape of a puddle or the rotting texture of a tree stump are as important in terms of being sources of meaningful and relevant imagery as a view of a place when observed from a certain distance or viewpoint. In this way, my works are somewhat removed from the desire to produce a realistic, representational view of a landscape, (even though they are still very much based on an experience of a tangible exterior environment). Instead, the paintings move closer to a position that reflects more of an interior, metaphysical territory. This is an emotional space, where phenomena found in the outside world is reflected and revealed in a manner which is an aesthetic and conceptual composite of a multi-faceted, immersive experience.

Edwin Aitken

If you would like to visit the exhibition and are not a member of the College or the University, please email mail@edwinaitken.com for an invite. The artist will be present in the exhibition on Saturday 11th and Monday 13th November from 2pm to 5pm. Refreshments will be available.

Edwin Aitken was born in Manchester. He studied Fine Art at Loughborough College of Art and Design and Painting at the Royal College of Art. He has exhibited throughout the UK and his work is held in private collections in England and the USA.

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Edwin Aitkin - Trees, Stream, Stumps and Remains (Epping Forest)

King’s College Exhibition for Black History Month 21st – 28th October

October 2017 marks the 30th anniversary of Black History Month in the UK but during the week 21st to 28th October, we will be celebrating over 80 years of Black history in our very own King’s College.

This exhibition aims to reveal hidden stories from that of the Heir of the Kingdom of Benin, Solomon Igbinoghodua Amekpivie Akenzua (matriculated 1948) to that of Alexander Osei Adum Kwapong (matriculated 1948) who graduated with a Triple First in Classics and later became Professor and Vice Chancellor of the University of Ghana. This exhibition shows prominent women such as Yaba Badoe (matriculated 1973), first female Black Cantab of the college and award-winning film maker and writer. Featuring matriculation and graduation photos, correspondence from the wife of Uno Bassey Ugot (matriculated 1947), and excerpts from the Senior Tutor’s notes, all from our Archives Centre.

On the 27th of October, we will be joined by Dr Temi Odumosu, Living Archives Research Project, School of Arts and Communication, Malmö University, Sweden (PhD, King’s College Cambridge, 2012), who will be speaking on “Loving in the colonial archive: Some mixed media approaches to issues of silence and forgetting.” How do we face the uncomfortable truths of a past that everybody wants to forget? In what ways do archives restage colonial violence? Is it possible for augmented reality, 3D imaging and other digital technologies, to mediate historical reconciliation(s)? This talk will present some of the artistic research she has been developing within the Living Archives Research Project in Sweden.

Tega Akati-Udi

For more information please email Tega:

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Yaba-Badoe

Wynne Jenkins – Paintings September 24th - October 20th 2017

An autobiographical note from Wynne Jenkins

“I am a native of Llangennech, Llanelli, but have been living in Carmarthen for nearly half a century. After a career in education, I now concentrate on expressing myself through painting in oils.

The form and colour of the landscape and buildings of my Wales are my love and inspiration. The palette knife is my medium. My initial influence was my Art Master at Llanelli Boys Grammar School, John Bowen. I admire the work of Kyffin Williams and Lucien Freud. Currently my main influence is Gwilym Pritchard [Welsh painter who died in 2015].

Painting affords the opportunity to transform well-known and much-loved scenes into an art form. In this way one becomes aware of the timelessness of our seas and mountains. The challenge is, by using a palette knife, rather than a brush, to express with precision the emotional response to nature. I seek to paint not only that which is seen and felt, but also that which is not seen - one layer at a time, until the dream is realised.”

Wynne exhibits regularly at galleries throughout Wales. In addition his works have featured on television - "Y Sioe Gelf" and "P'nawn Da" on S4C for whom he also commentates on art.

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Eira Ddoe

Treleddyd - Ty Ddewi.jpg

Y Cnicht a'r Moelwyn

Ger Pwllderi - Sir Benfro

Amber Hiscott and David Pearl – Concept and Context in Architectural Glass - April 10 - May 7

Amber Hiscott and David Pearl – Concept and Context in Architectural Glass - April 10 - May 7 An exhibition of the studio work of Amber Hiscott and David Pearl, focusing on watercolours, maquettes, and photographs. The two Wales based artists are principally known as glass artists working in an architectural context and in public space. They have been instrumental in pioneering the medium’s adaption to contemporary architecture with the application of commercial processes such as silk screen printing of glass frit enamels onto glass.

Amber Hiscott worked with Theo Crosby for Unilever House in London, and has realized commissions for: Liberty; Sheffield Cathedral; Royal Exchange Theatre, Manchester; Wales Millennium Centre, Cardiff; Great Western Hospital, Swindon; Casa Foa in Buenos Aires, among numerous others. In the nineties she stepped out of the architectural framework into the public domain to design and realise sculptural works for steel and glass. She is currently working on four windows for the Green Mountain Monastery in Vermont, USA. Her work is in the collections of the V&A, Mannheim City Museum and Yoshida Museum, Japan. She has exhibited world wide.

Amber was awarded The Freedom of the City of London for her contributions to the medium of stained glass. David Pearl was educated in Canada prior to training in Architectural Glass in Swansea. He has an MArch in architectural design, from The Bartlett. At UCL he returned to an earlier interest in filmmaking and is now introducing it into his site specific work. Pearl is currently using video in hospital treatment spaces, most recently for the Hydrotherapy pool at Alder Hey Children’s Hospital in Liverpool.

Pearl has realised commission work for the European Study Centre, Ectarc, Llangollen, the National Film Board of Canada; The Royal Scottish Academy, Glasgow; Missenden Abbey; the Niagara Civic and Convention Centre, Niagara Falls He is currently installing a vast architectural glass work for a new mass transit station in Toronto, where he also lectures in Colour, Light & Environment as a visiting professor at OCADu.

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Resilience – David MacDougall – Images from a New Delhi children’s shelter – February 11 to March 12

David MacDougall, one of the world’s most distinguished ethnographic and documentary film-makers, is renowned for films that evoke the sensory feel of everyday and institutional life. His film, Gandhi’s Children, goes beyond images of poverty familiar from photo-journalism, presenting the knowledge and resilience of individual boys, and the rituals and rhythms of the institution they inhabit.

King’s College is delighted to show photographic stills from Gandhi’s Children. There will be a full programme of events and screenings with Professor MacDougall from 9th to 11th March 2017. Details to be announced in February. Please email Nigel Meager for more information:
.

About Gandhi’s Children

A monolithic building on the outskirts of Delhi provides food and shelter for 350 boys. Some are orphans, some have been abandoned, others have run away from home. About half are held under a court order, having been picked up for petty crimes. Living at the institution for several months, MacDougall explores its routines and the varied experiences of several boys. Despite the harshness of their lives, many show remarkable strength of character, knowledge, and resilience.

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Angelica is an undergraduate who studies English Literature at King's, having previously completed a Foundation course in Fine Art at Central Saint Martins, where she specialised in Painting. This exhibition is of work she has made over the summer, influenced by interests in meditation, the body, greek tragedy, music and nature.

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Artist's Statement on Ekphrasis

All of the works exhibited were completed within the last year. In the context of Richard's exhibition, the term ekphrasis [εκφρασις] is used to refer to the act of producing paintings inspired by poetry and song. I seek to reify the sometimes profound and in any case ineffable messages contained in a diverse range of poems, all of which have some significance to me.

The sale of the paintings is in aid of Footage Foundation; this charitywas founded by PhD students and colleagues from Cambridge University in 2008. While having a commitment to educational, cultural, and social initiatives, it aims to inspire young people to be active participants in changing their local and global communities.

A few biographical notes

After a Foundation year in Warwickshire in 1969, Richard attended Nottingham school of art, graduating with a commendation in 1973; his first position was as an illustrator at Wollaton Hall natural history museum. He eventually joined academia in 1985 as a lecturer in art & design education at Reading University, moving to Cambridge in 1997. He is currently Dean of Homerton College and Professor of Aesthetic Development at Cambridge University.